#make shoujo theme like and everything

[nieves-de-sugui]

A Quick History of BL

As someone who wrote a thesis on this very subject a few years ago, here is the short version of how BL has evolved throughout the years. For the new comers ❤ 

a minute of silence for the original form of this post that tumblr decied to not save right after I saved it

I am going to go with a chronological approach. Unfortunately, I cannot put everything in one post so if there’s any questions about this or that aspect of the history of BL that you want to know and it’s not talked about here, you are welcome to ask me directly :)

Context and influences - Japan in the 60′s

Before the US forced Japan to open its borders to the outside world in the 1800s, homosexual practices were common place between budist monks, samurais and kabuki actors. During the Edo period (1600s to 1800s) there was a very rich amount of poetry, art, books (such as Nanshoku Okagami (The Great Mirror of Male Love) by Ihara Saikaku) and codes of conduct about how to have a good master/aprentice relationship, kinda like the greeks if you know what I mean. However, with the arrival of western influences, in order to become a more “civilized” country, it was all put in the closet. 

Yet, in the 60′s Japan started to pick it up again through literature about young androginous beautiful boys (aka bishounen). On one hand, in 1961, the novel Koibitotachi no Mori (A Lover’s Forest) by Mari Mori was published. It tells the story of a young and beautiful 19 year old worker and a half french half japanese aristocrat, and their tragic romance. On the other hand, Taruho Inagaki wrote Shounen ai no Bigaku (The esthetics of boy-love), an essay on aesthetic eroticism (of which he wrote a lot of). All this was know as Tanbi (lit. aesthetic) literature. It generally refered to literature with implied homosexuality and homoeroticism such as works by Oscar Wilde, Jean Cocteau, etc. And of course, Mori and Inagaki. 

In chinese tanbi is read as danmei (term used to refer to BL novels in china today, ie: The Untamed it’s all connected friends).

From the birth of Shonen Ai  to Yaoi - 70′s to the late 80′s

Around the beginning of the 70′s, shoujo was being revolutionized by the Year 24 Group, a generation of women manga authors (mangaka) who started to explore new themes. Among them, their interest in tanbi gave birth to a new subgenre: Shounen ai. 

Their most known manga were:

Kaze to Ki no Uta (The Ballad of the Wind and Trees) by Keiko Takemiya, and Toma no Shinzo (The Heart of Thomas) by Moto Hagio

Their stories are characterized by having suffering eurpoean bishounen in boarding schools, living an idealized perfect love (meaning passionate) that, despite the tragic end of one of them, lives forever in the other. 

As this genre starts getting popular, more and more fans of these stories start making their own self published manga, aka doujinshi, of the genre. It is around this time that the term Yaoi is coined. Meaning “YAma nashi, Ochi nashi, Imi nashi” (no climax, no fall, no meaning). Basically PWP fanfiction, for the most part. Doujinshis could be considered an equivalent of fanfiction in manga form.  It is also here that the term Fujoshi (aka Rotten Girl, for liking rotten things) starts being used to refer to women readers of yaoi. 

With this rise in popularity come the start of the commercialization of the genre. Which meant the publication of magazines dedicated solely to yaoi/shonen ai/BL. The most popular yaoi manga magazine at the time was June. The common trait of their stories being the therapeutic power of the love between the mains. The traumatized character would heal throught this newfound love.

Most of the stories at this time happened in the West (Europe or the States) as the exploration of these dark themes intertwined with homosexual romance and homoeroticism still feel safer to explore as a foreign concept. One example would be Banana Fish (1985).

Commercialization and Yaoi Ronso -  90′s 

As more publishing houses pick the genre up, the term Boys Love is used to include every type of manga about homosexuality made for women. 

The increasing amount of BL series sees a changes in its themes: 

the start of the “gay for you” trope where one mantains their heterosexuality despite being in a homsexual relationship, 

the uke/seme dynamic (mirroring hetero realtionships) also relating to physical appearence (one being more feminine, the other being more masculine), 

the use of rape as an act love (sexual violence has always been present but here it becomes a staple),

anal sex as the only type of sex, 

older and more masculine men start to appear 

they now happen in Japan

Good examples of the presence of these themes in manga are Gravitation (1996) or Yatteranneeze (1995).

However in 1992, Masaki Sato (a gay activist/drag queen) wrote a letter in a small scale feminist magazine attacking yaoi and pointing out how it “represented a kind of misappropriation or distortion of gay life that impacted negatively upon Japanese gay men”. The female readers of yaoi responded, defending the genre as a means to escape gender roles and explore sexual themes that was never meant to represent the realities of gay men. This is know as the Yaoi Ronso (Yaoi Debates).

The debate ended with both sides understanding more of each other, with mangakas starting to include queer views in their works. It also started the academic reasearch of BL. 

Yet, it is a debate that has been restarted more than once, as it is still relevant despite the evolution of the genre.

more on this on another post

Globalization and coining of BL - 2000′s 

By the beginning of the 2000s BL is being sold all over the world (like all manga), and has become a stable industry. We could say it has finally become it’s own genre. 

Some of the most well known manga series, to us (in the west), of the time are:

Junjou Romantica 2002 Koi Suru Boukun 2004 Love Pistols 2004 Haru wo Daiteita 1999

all of these have anime adaptations for the curious ones

We also start seeing short anime adaptations or special episodes of the most popular series, with questionable themes, such as: adoptive father x adoptive son  (Papa to Kiss in the Dark 2005), father x son’s friend (Kirepapa 2008), etc... 

However the themes remain more or less the same. Junjou Romantica’s love story starts with a non-con sex scene by the older one (masc, seme) to the younger one (more feminine, uke) addressed years later in the manga btw. Koi Suru Boukun’s love story is triggered by aphrodisiacs and rape. They’re still very present in the stories but slowly going away. A mangaka that represents this era could be Natsume Isaku (Candy Color Paradox 2010).

Change is slow in Japan. Even though the voices of LGBT+ people started to be taken into account in the genre it is not until later that we see it reflect in the mangas themselves. However, we can already see the start of this in Doukyusei (Classmates) (2006) by Asumiko Nakamura. Also Kinou Nani Tabeta? (2007) which is actually part of a more mature genre: Seinen.

It is my personal (subjective) theory that the BL of this era was the one that got popular outside of Japan, which is why we see lots of references to the themes, tropes and dynamics of this time in today’s BL series. 

The LGBTzation of BL and the rise of webtoons - 2010′s to 2020′s

Slowly but surely LGBT characters and themes enter the scene of BL. Existing simultaneously with the previous tropes and themes, we start seeing a shift in these stories. We now see:

characters that identify as gay or some type of queer

discussions about homophobia

more mature themes about life and romance

At the same time as we get the usual love stories with the usual themes, a new trend starts to take over. And we get simultaneously, cute, sometimes questionable but light love stories:

Love Stage 2010 Ashita wa Docchi da! 2011 Kieta Hatsukoi 2019

More profound stories and darker or more complex themes:

Blue Sky Complex 2013  Saezuru Tori wa Habatakanai 2011 (mafias) Given 2013 (suicide) Hidamari ga Kikoeru 2013 (deafness)

And others that adress the queer experience in a more mature way (which might actually fall into the Seinen genre)

Itoshi no Nekokke 2010 (slice of life, queer characters) Smells like Green Spirit 2011 (two ways to deal with a homphobic society) Strange 2014 (relationships between men) Shimanami Tasogare 2015 (an LGBT group helps a closeted gay) Old Fashioned Cupcake 2019 (you know this one 😉) Bokura no Micro na Shuumatsu 2020 (the end of the world)

As queer stories are explored, BL mangakas and mangakas from other genres start to consider more stories about queer people such as the Josei Genderless Danshi ni Aisaretemasu (My Androgynous Boyfriend) (2018) by Tamekou, or the Shoujo Goukon ni Itarra Onna ga Inakatta Hanashi (The story of when I went to a mixer and there were no women) (2021) by Nana Aokawa. 

Still, we can see two realities live side by side. Doukyuusei gets adapted into an impactful animated movie in 2016, meanwhile Banana Fish gets an anime adaptation that keeps the homoeroticism but not the homosexuality.  

For those who might be interested. Here are some of the authors that represent the first half of this era, where they start to include newer points of view:

Scarlet Beriko, HAYAKAWA Nojiko, KURAHASHI Tomo, OGERETSU Tanaka, Harada, KII Kanna (Stranger by the Sea), etc...

And authors that while keeping classical themes break the stereotypes in a subtle manner:

CTK, ZAKK, Jyanome, Cocomi, Hidebu Takahashi, SUZUMARU Minta, etc...

Mangakas also no longer stick to one genre only. They explore whichever of them they want, from BL to Seinen to others. 

ie: Tamekou, 

or Asumiko Nakamura

The curious case of Webtoons

With the digitalization of mangas, throught Renta and Lehzin, it has become easier (and more expensive) to access these stories. Korea makes and appearence with their webtoons. Through the lack of piracy protections and the majority of them being digital, manhwa (korean webtoons) sees a rise in popularity. Through the digital medium the influencee can be the influencer.

However, like many other East Asian countries they have consumed BL, without hearing about the conversations about BL. So they end up mantaining the older themes and stereotypes that newer BL is trying to leave behind. Therefore, we end up with a mix of old and new, ie:

Killing Stalking 2016 Cherry Blossoms After Winter 2017 Painter of The Night 2019

Additionally, it is also thanks to the easy access to internet that Omegaverse, with its higher dramatic stakes (that parallel hetero dynamics), enters the mangasphere in 2016. It has grown in popularity ever since.

With the Thai BL Boom of 2020, Japan rediscovers its own BL market and starts investing in it more. Which is why we get live action adaptations of BL manga that was popular years ago (Candy Color Paradox was a manga from 2010), the more recent ones (The End of the World With You) or new anime adaptations (Saezuru Tori wa Habatakanai in 2020). 

more on this in my japanese live action BL post

What has it become now? is it BL? ML? or Seinen? Or is it all just gay manga?

It is clear that Shoujo manga (with BL, Josei and Seinen) is exploring queer themes such as gender and sexuality more and more. Japan is interested in this conversation, not only in manga (Genderless fashion). Which brings up the current question in BL studies: Does it make sense to keep these categories?

As a response to BL, ML (Male Love), which is made by gay men for gay men, started happening (around the 70s too). And Bara (gay manga porn) in response to Yaoi. However both gay men and women read BL and ML. We also see other themes being explored through BL, such as friendship (in BL Metamorphose), food (in Kinou Nani Tabeta), male relationships of all kinds (in Strange), and different queer views on life and its challenges (in Shimanami Tasogare). More and more what is LGBT and what is BL is merging, the line is blurred. 

Conclusion

BL has been in my life for longer than it hasn't. It is through shoujo and BL that I have come to understand people and romance.

It is flawed, like everything else this life, but it's flourishing in many ways.

The genre feels old and new at the same time. 

We can still find shounen ai/tanbi elements in more modern manga (All About J). Or the gay for you in a new light (Itoshi no Nekkoke). Or more educational manga on queer issues (My Brother’s Husband by Gengoroh Tagame). BL has around 50 years of existence but it is also being born anew in Thailand and Korea. 

BL manga will continue to evolve in acordance to Japanese tastes, as it is still a local market. Hopefully the korean webtoons that get popular will be the more daring ones in their themes. Who knows where it will go from here? The only thing we know for sure is that it will continue to change. Isn't it exciting?

A post on the evolution of live action BL in Japan is coming, to complement this post.  As well as a more detailed explanation of the Yaoi Debates and gay manga.

#history of bl #bl post series #I feel like I left too much stuff out #I hope it makes sense #honestly I would really recommend reading some of those manga #they're super interesting #soon it'll be 20 years since I started reading BL #my gosh #if theres anything anyone wants to know more about #I'd love to write more :) #yaoi manga #bl manga

[tobifuyu]

Snowflakes In My Stomach When We’re Kissin’

RAN HAITANI x f!reader

cw: nsfw, mdni, smut, fwb to lovers, oral (male reciving), tiny bit of angsty themes with happy ending, sappy fic, ran being a simp as always to feed my “he’s a self-centered bitch until he finds the one” agenda.

wc: 3.2k

a/n: surprise… i’m back with a christmas present! this is the first fic in a three pieces installment, which can all be read as standalone but come from the same universe and evolve in the span of three different christmases. in case you didn’t know, in japan christmas is a holiday in which people spend time with their partners because they reserve new year’s for family (not only i’ve seen it in a whole lot of shoujo anime but i’ve asked my japanese coworkers to confirm eheh). it’s also customary to eat cake! ;)

“Though you said you just wanted to get a coffee.”

The only thing peeking from the red scarf is the tip of his nose, flushed with the same color of the fabric that’s wrapped around his neck. You imagine his lips curved in a smirk under it.

When he came to pick you up earlier this morning, you thought he made a bold choice pairing the red garment with the unusual color of his hair. Up until then, you always believed red and purple would clash.

But Ran made it work, somehow. Like most things in his life, he did it with a confidence that made you question your world and how you view it even if for just a second.

“Well, that we did,” He shakes his hand, his long fingers easily supporting the weight of the full cup. You can see the steam rise from it and wonder if he’s not drinking it because he’s scared to burn his tongue or because he’s not ready to go home yet.

The two of you are currently walking around Shiba Park, not too far from Roppongi Hills. The peak of Tokyo Tower is hidden in plain sight behind the trees, stripped naked by the season, and adorned by strings of fairy lights.

In daylight they look clear, void of color, and empty, they come alive at night. Just like we both do, thinks Ran.

Ran does like winter. He believes winter poses more opportunities to forgo going out and staying in bed. He loves to gaze out of his apartment’s window and spot rain pit patting against the glass, watching the water droplets leave streaks behind as he lets himself get lulled back to sleep.

He also likes that he can layer more clothes, the more the merrier, he says, it’s easier to style it. You would agree, because he looks particularly elegant with his long black coat, left unbuttoned to glimpse at the nice sweater under it. The sight of his tightly clad body alone ignites a fire inside of you, one that is meek but insistent, and will soon start to burn you inside out.

What Ran doesn’t like it’s the cold. The wind is not fair against his pale skin, it leaves it red and stinging, much like his heart when he wakes up after a night together and doesn’t find you there. He does not like the cold, the cold of the sheets around him when you’ve left hours before.

He would like to pretend he’s clueless as to why, the same way you’re staring at him now, but he knows the reason behind it.

“Are you gonna tell me why we’re wandering around without a destination in freezing weather?

“Can’t you just live a little?”

You scoff at his words, taking another sip out of your hot chocolate to bite back an insult. He’s already testing your patience, and you have very little of it left today of all days.

“We should go eat some cake, I’d love an excuse to grab a Mont Blanc for later at that bakery by your apartment. Y’know I like it there.”

Cake. You don’t like cake, and you don’t like what eating cake with him would mean today of all days.

“Why do you have to make everything so complicated, Ran?” You sigh, head shaking in disappointment.

When you decided to start this with Ran, it was because you believed the man to be on the same wavelength as you. Ran had seemed like someone who knew what he wanted, and you had been sure that was not you.

He had promised that would stay the case. Your heart could not afford to be cared for by somebody.

When you look at him this time, you don’t notice how the wind is whipping the skin of his high cheeks red because his scarf is now covering everything but the lidded eyes staring at you.

At this rate Ran might end up hating winter: you seem to get colder with the season. He doesn’t think he would pick sleeping in over you, so if he could, he would like for summer to last all year long.

He’d like for you to cling to him even when the temperature is so high you can barely breathe in your cramped room, sweat sticking to both your skin and his, like your very first night together.

Because where the holidays bring glee to most, to you they’re a reminder of times that are long gone. A childhood spent decorating the tree and wishing for the perfect Christmas gift, now turned into a life of solitude. Your fast-paced job and lonely apartment away from home don’t leave space for the frivolity of Christmas.

“Didn’t wanna leave you alone,” he speaks so clearly of his intentions you almost feel shame, “Did ya think I would’ve left you bask in your gloominess, today? ‘M not that bad of an ass.”

You don’t think Ran owns you anything. He shouldn’t be picking up the pieces of you that other people left scattered and putting them back together as if it were a kids’ puzzle.

Ran knows you don’t really have anyone, he thinks he’s much like you, and would be just as bitter if he didn’t have his brother.

“You left Rin by himself?”

You hear his muffled laughter, “‘course not. Haruchiyo’s there. Y’know how they are.”

Yes. In love, you suppose. And you wonder if Ran thinks that is what it is. And what is it between you two?

You can feel his body warmth as he gravitates closer to you, “‘M cold,” is his excuse when his now ungloved hand catches yours. He intertwines your fingers, brushing the back of your hand with his thumb, before hiding them away in his coat pocket.

Gotta warm your cold heart up, he thinks.

“Saving you from this freezing weather,” is what he says out loud.

But you know it’s because the movement brings you closer, he pulls you so you’re now shoulder to shoulder, and you’re not strong enough to keep your head from falling on his. As if you were fresh snow in the sun, you melt in his presence.

“Let’s go get cake,” your voice is but a soft whisper, running past him like the breeze through the dying leaves, the wind finally settling down.

And that’s how he ends up in your apartment. Sounds of wet skin slapping against one another fill the void as he buries himself deep inside of you.

The sweet pastries Ran bought long forgotten over your kitchen counter, as he’d much rather taste the honeyed nectar spilling from between your thighs.

He’s grabbing at them now, the hold on your flesh sure to leave marks behind as he folds your legs so that he can loop his arms under your knees, keeping you spread open for him.

Big body caging you under his warmth with his forehead pressed against yours, and open mouths a breath away from the other, sharing sounds of pleasure without ever meeting in the middle.

It had been a tantalizing dance when you first started sleeping together. Like most people in your situation, you had both concluded that it would be best if you refrained from kissing. Deeming it too intimate.

Ran had caved after the third time you ended up in his bed, lips too needy to be kept from yours. He had let out a soft plead before you met him in the middle.

From then on you made it your mission to never kiss him outside of your bedroom activities, too scared of the power his kisses held over you. He and his annoying self had taken it as a challenge, always on the edge of his seat waiting to see who’d kiss the other first.

“Oh fuck this,” Ran groans before giving in.

You catch sight of his eyelids fluttering shut, hiding that violet color that you love so much, and your lips lock in a kiss that takes your breath as much as the hips still snapping against yours.

The coarse patch of hair on his navel repeatedly brushes against your puffed-up clit, making your hips jump up to chase the friction. The man is shamelessly shallowing your moans and caressing your tongue with his, teeth closing around your bottom lip when you go to pull away.

“Ngh, you taste like cake.”

Ran had snuck a bite of one of the pieces the moment he stepped out of the bakery, and the sweet taste on his tongue was, in your opinion, way better than the real deal.

His hand grasps your chin with firmness, the tips of his fingers squeezing your cheeks and making your blushed lips pucker up.

“So you do like cake, mh?”

“No, I don-“ Ran squeezes harder, and your mouth parts. A glob of spit falls on your tongue, one that you shallow under his scrutinizing gaze.

The moan that he lets out at that reverberates through your chest as he bends so close your bodies are now completely pressed against one another, sharing body heat.

This is what sex with Ran is, a concoction of rough touches and fucking that turn soft and slow when you least expect it. He likes to tease and surprise you, stealing the prettiest sounds from your lips and making them his. Making you his.

“Y’don’t like cake, s’okay. I know you like me,” one of his hands teasingly pinches your right nipple, respective eye closing in a wink.

You like that he makes sex fun, cracking jokes as if his cock weren’t pumping inside of you. You like it, you like him, but you can’t have him know that.

“That’s not-“ he interrupts you once again, this time with the snapping of his hips. He starts fucking you like he means it. Calculated thrusts hitting against the sweet spot only he knows how to find.

Ran is on his knees now, hands firmly planted on your raised hips, guiding you back and forth over his length.

“Fuck! Ran, fuck that feels good- so good-“

Slurred words leave your panting mouth as your hands hold onto the pillow behind your head for dear life, back arched and chest exposed to the greedy eyes that are raking over your body. From your perked-up nipples, begging to be played with, to the way your cunt is stretching around his cock.

“Don’t have enough hands for the things I wanna do to you,” Nonetheless, he repositions his right one so that it’s splayed over your navel, thumb reaching down to rub tight circles on your slicked clit.

“Fuckin’ cunt squeezing me so good,” moans spill from your mouth at his words, his voice is strained but maintains that hint of icy superiority and poise that is characteristic of Ran.

The way your hole flutters around him is maddening, Ran can feel your walls clenching against his length so perfectly. He can feel everything.

As a matter of fact, so do you. No matter how dumb he fucks you, you can’t ever miss out on the sweet feeling of his bare skin caressing your wet cunt. The squelching sounds are filling the air around you, making your cheeks heat up and your head lull to the side, trying to avoid his eyes in shame.

Half face buried in the pillow, you beg for him, “Ran, please, please. I need to cum so bad.”

His thrusts slow down, thumb stilling over your clit, and you hear him hum, pensive.

“Maybe if you looked at me, pretty, I might think about letting you.”

Gathering your remaining strength, you open your eyes to the sight of his glorious body above yours.

The wetness of his skin shines under the light of the outside street lamp, peeking in from the window, full body tattoo so enchanting, you watch it move and bend over his rising chest.

With violet eyes fixed on yours, he stands tall, unreachable.

The purple strands that fall from his gelled-back hairstyle are the only giveaway that he’s not so perfect and pristine after all, but he still looks like a god in your devoted eyes.

“Ran,” you call his name so softly he tumbles from the skies right to you.

His body bends to lay over yours, weight supported by his arms at your sides. With a snap of his hips, he breaks the longing stare you’re both sharing, mushroom tip hitting the spot that makes your eyes roll to the back of your head.

“Oh my god, that feels so-“ “I know, baby, s’okay.” One of his hands caresses over your head, before stopping at your neck and closing around your windpipe. The pressure of his touch against your feverish skin is delicious.

Your nails are now creating indents in the flesh of his arms. You want more, you need him to break you.

Ran can’t stop thrusting, pounding, burying himself inside of you to the hilt. He’s never wanted to be this close to someone before, never needed their warmth as he does yours.

He stops you before you can reach your clit with your fingers and, wanting to be the one to take you over the edge, he uses his free hand to rub over it vehemently.

“Coming, I’m coming,” are the rushed words that fall from your lips before you hit your peak. Wanton moans are gracing Ran’s ears, making his balls strain from holding back, but he wants you to bask in the glow of your orgasm before he reaches his.

“Doin’ so well fo’ me, look at this pretty pussy. Gushing all over my cock.” He looks down as he says this, watching how good he’s splitting you open, his cock coming out of you covered with the white sheen of your arousal, then plunging back in.

Your spent body is overstimulated, twitching in his hold as if trying to run away from the pleasure.

“You’re the only one, baby.” Ran lets slip, the sight of you in your most vulnerable state makes him just as weak, “S’all yours, so take it.” And he means it, you’re the only one.

Before you, life used to be in black and white. Ran had tried everything to paint it some other color, from violence to sex, but nothing ever came close to holding you in his arms.

Color is always all around him, but Ran’s devoid of it until you touch him.

You pull him down to you at the confession, arms wrapped around his neck, chests pressed against one another, hard nipples tickling the soft skin.

The pace suddenly turns slow, and you wonder if Ran does not care about coming anymore. His focus is on you, and you’re staring back at him with just as much affection.

“Let me take care of you,” it’s what you suggest once you’ve come down from your high, fingers pressing against his shoulders to have him lay back in the sheets. Short hair sprawled over the white pillow like a halo behind his troubled head.

Both of your thighs are circling his hips, too scared to have Ran pull out, and be prevailed by that sense of emptiness and cold that comes from being away from him.

Fighting a whirlpool of emotions, you feel the need to silence your mind with his lips on yours. The clashing of your noses does nothing to stop you from kissing each other passionately.

The blame should be on Ran for making you fall for him and gifting you a brand new reason to celebrate Christmas, but you should’ve known better when he walked into your life with that snarky smirk that makes you sigh just thinking about it. You bite his lip in retaliation.

The feeling of Ran’s hands traveling over your skin and sinking with his strong grip on the flesh of your hips is what makes you separate your two halves, pussy clenching around the length that has been filling you up so perfectly. The need to make him feel just as good swells up on the inside.

“Fuck, please,” A choked whisper, falling from the pearlescent of his lips, wet with your love, blood pouring out of the bitten skin.

Purple and red do look good together, you think.

Your hands are warm, trailing up his stomach like the ink on his skin. He feels as if you’re moving too fast, scared he might blink and lose the moment, and at the same time too slow for his liking. He’s begging and he doesn’t know what he’s begging for. But you do.

Ran’s hands tighten around the bedsheets. He wants to touch everywhere you’ve been, wants to get stained in you. Like fresh paint that sticks on skin, he’s now colored in your shades.

Wet kisses are being left on the top of his shaft. Ran’s right hand finds your hair, waving his fingers between the loose strands to uncover the sight of your pretty face.

Lidded eyes are watching you glide your tongue down his hardness, caressing the bluish veins running across its sides, tasting yourself on it.

When your lips wrap around his sensitive tip you have to hold down his hips with both hands.

The peace you set is slow, taking him in your mouth inch by inch. His girth stretches your lips and he thumbs the lower one as you look up at him with tears forming at your lashline.

“Mouth feels like fucking heaven, angel.”

Ran can barely contain himself, dangling from the edge, his balls heavy with his release.

When your nose is buried in the hair at the base of his cock, you know you’ve successfully taken him whole. A huge accomplishment on your part, considering how blessed he is.

With your throat clenching around him, it doesn’t take long to feel him twitch in your mouth.

“Yeah, pretty girl, just like that. Make me cum, fuck!”

Bobbing your head at his request, you’re hasty in sucking your checks around his length, letting him come on the back of your tongue with languid moans that contain your name.

No need for him to ask, you’re one step ahead by swallowing his semen, making a show of it before leaving a wet kiss on his tip, to collect the white drop that was spilling over.

“Better than any cake.”

Booming laughter fills the space around you as you scoot closer to his tired body, laying on his naked frame and stealing all his warmth.

“I do like you.”

“I know,” Ran looks down at you, left check cutely smushed against his pecs, “Let’s spend New Year’s together.”

The faint movement of your hair brushing his skin tells him you’re agreeing, “And what about… next year?”

“Let’s spend them all together.”

You’re warm in his hold, and he figures the fairy lights might’ve come on in the park.

Ran thinks back to the rest of the untouched cake on your kitchen counter and is happy enough that the two of you have exchanged Christmas gifts in your own special way.

After all, he took away the cold, and you’ve brightened up his life.

That’s more of what you could’ve wished for.

#ran haitani #ran haitani imagines #ran haitani smut #ran haitani x reader #ran haitani x y/n #ran haitani x you #ran imagines #ran smut #ran x oc #ran x reader

[nights-at-crystarium]

Fragments - episodes 36-40 author notes

You can find similar breakdown posts on older episodes in my pinned!

I didn’t need to spend so much screentime on Titania fight, yet it was a fun personal challenge. I’d never written/drawn a cohesive fight scene before. The scripted ingame instances don’t leave much room for imagination, I wanted to stay away from the fourth wall, and make up a more immersive scene. How do you even make it look mildly interesting? You’d think, well, characters will just flail at each other until one of them dies, right?

So yeah the biggest challenge was creating the ebb and flow. What affects Vivi’s actions? Why wouldn’t he just murder Titania like any other opponent, and be done with it? I threw in a generous amount of inner pov (that I previously used very sparingly) and some silly tricks. The stakes are high, yes, it’s a Lightwarden vs WoD encounter, but Titania still retains their playful personality above all else. Vivi's here just to do his job, but he also knows that he's dealing with a fae.

The msq makes Titania stand out among other wardens, I capitalized on that and hc’d that they’re important to Feo Ul, and, by proxy, to Vivi. That instantly provided some emotional stakes, and an answer to why he doesn’t rush to kill them out of the door.

Vivi enters the castle in episode 35, and mostly runs in circles, analyzing his enemy, and even falls victim to illusions. This could’ve been it for him, but I daresay it worried none of us because we’re just at the beginning of a story about this guy, he’s THE guy in this universe not for no reason, he’ll manage.

No deep meaning behind "grasshopper", I just thought it's a bizarrely precise descriptor of both Vivi's long legs and dragoon jumps, and it fits the natural theme of the fight.

Vivi didn’t go in unprepared.

This line will be relevant again in like, 5-7 years from now :’>

More under the cut~

He always, always doubts everything, especially when it comes to his level of power. Self-nerfing. A light (heh) case of an impostor syndrome.

Everyone loved the bonk for meme reasons, Vivi simply bought himself some time to cast.

The Rainbow Sparkles of Believing in Yourself! And of something else, perhaps. I’m planting quite a bit of stuff for future, this one should take a mere year or so to pay off.

I hope this pose’s enough of a hint that you shouldn't be taking episode 37 too seriously.

Yes, he used his spear to ~cast~. And took a sailormoon pose. This's his, monoclass dragoon’s, interpretation of what the caster magic’s probably like.

Offscreen, Titania comes to their senses and shrills “so you wanna play rough?!”, Vivi ignores them, concerned with only one thing: did he succeed? How did the test of his custom spell go?

It only worked out because the both of them are idiots.

I like to emphasize that Fragments isn’t about retelling the msq, or big epic battles, but here, where I actually put my heart into it, I feel like I managed to pull off at least one epic beat you’d typically see in an action-focused comic. Super proud of this panel ;w;

This’s a standard panel divider I’ve used multiple times before, but it couldn’t be more visually appropriate here :3c

So, to recap. Vivi asks Titania if they miss the night sky. They do. Vivi brings the night sky to them, and lo, something actually happens. I illustrated this “something” as one of their eyes getting sort of cleansed here. This story suddenly takes a mahou shoujo (shounen, heh) turn, I appreciate that it may cause some eyebrows to raise, but I think it’s okay to take creative liberties like this in a story themed around identity, agency, and believing in yourself. If Titania’s so strong as to retain a tiny bit of their old self, to cohesively partake in a simple convo, then why can’t they return, even if for a brief moment, given the proper assistance.

An appropriate reaction to the wild bs that’s going on. Imagine inventing the tale of WoD in the First, only to witness THIS.

As about Vivi, he can save a soul when he genuinely cares for it. We haven’t seen him do this before. He does it for Feo Ul explicitly, implicitly as a self-reflection. He’s projecting so hard after realizing that Titania looks like him. He wishes for them what he'd wish for himself: to rest, to be treated with care and consideration. They don't only look like him, they're also unfree, tortured by something. Empathy or not, this’s the kindest fight Vivi’s ever fought.

I’m iffy about the canon talents that come with the Echo. You can understand any sentient creature, okay. What happens when you speak, does the other party feel the difference between that soulspeak and their native tongue? Does it feel off? Does it offend? I incorporated my own misgivings into Vivi’s thoughts about his Echo. He doesn't use soulspeak here out of respect and concern that Titania might not react well to it, throwing the entire plan out of the window. Thus he memorized quite a bit of fae words before the fight. This’s his way to mark himself as one of their people, or at least to show that he truly cares.

STAY TUNED FOR EPISODE 41

Vivien Doubter Rell. Also yay first nod!

Embracing his new duty, and possibly giving Titania the hug they deserve.

Look HE’S OKAY. For now. I just thought the hiccup would be a cute way to acknowledge the terrible power he’s just absorbed. The canon cutscene moves on unblinking, but here’s different.

Bracing himself for confrontation. Things might go awry. Or might not. Vivi doesn't know. Worst case scenario: this’s the end of his sweet lil friendship with Feo Ul. Do they like him, or a Titania-lookalike in him?

“Oh bugger...” big pets come with big responsibilities, my dear Feo Ul.

Just to reinforce his fae-ness.

Vivi had full control in this fight. Analyzed the enemy, successfully tested some crazy tricks, managed to have a heart-to-heart that resulted in getting a permission to kill Titania not with violence, but with mercy. So much could’ve gone wrong, but just didn’t. Vivi’s used to this, even if he constantly doubts everything, this’s how it always goes. He’s being flung at tasks with abysmal odds, somehow he emerges victorious.

I just like this panel so much okay.

This arc may feel slow, but it gives depth to Vivi and Feo Ul's relationship, and seeing them together in later episodes will spark even more joy.

Even after a warm moment they’d just shared, Vivi’s still wary. I broke out an analysis of what external influence, pressure to change means to him, please read this post if you missed it. YEAH TAGS AS WELL.

His expression here is an attempt to downplay the anxiety and swing the odds in his favor. What if Feo Ul insists and throws a tantrum? What if he has to become Titania right now, and there’s no way around this? Let’s make puppy eyes just incase, maybe that helps.

One more personal fav panel. There’s SO MUCH in this look. They’re on a threshold, about to become something else on Vivi’s behalf. Because they love him so much. They’ve instantly become friends because they don’t want anything from each other, just the company. Feo Ul’s such a breath of fresh air for Vivi, a new hope in a new world, where he’s (comparatively) a nobody, where people still have the potential to love him for who he is as a person. This’s why our crimson pixie gets so much screentime.

Vivi really said XD

The next few episodes wrap up the Il Mheg arc, and focus on good vibes and celebration. ShB follows a rollercoaster formula where it makes you smile at something nice and sweet only to whack you in the face right after, and I’m trying to do the same :3c

As always, thanks for reading~

#ffxiv #feo ul #vivien rell #ffxiv: fragments #fragment ii: new world old friend #fragments talk

[meowful]

the reason why everyone should read skip to loafer is because misaki takamatsu expertly articulates so much of the highschool girl experience in a way that feels deeply grounded, deeply nuanced and deeply relatable. i’ll keep specific examples out of this because one of my personal joys with reading skip to loafer is experiencing everything alongside mitsumi and friends but events like making friends with people you normally wouldn’t talk to, finding the balance between your social life and your academic goals, processing unrequited feelings and learning to love yourself. the social pressures that come with being a highly sought after person; feelings of envy towards said person and processing these feelings. these events are explored with a level of attention and warmth that is very difficult to find in other shoujo highschool manga.

this is definitely elevated by skip to loafer’s focus and exploration of its female characters, who have their own distinct goals, personalities and insecurities. i don’t think there’s many shoujo manga out there that treats its female friendships as similarly important if not MORE important than its romantic relationships. so much of highschool was just spending time with best friends. skip to loafer doesn’t have the same type of female-rival drama that most other shoujo romance works do, and when it does the efficient pacing of the story means it’s resolved fairly quickly yet satisfyingly. instead, mitsumi and her friends go to cafes, they eat lunch together, they go shopping, they team up in sports and culture festivals. everything that happens in skip to loafer feels very close to something that could happen to any regular highschooler, which makes the themes and ideas it explores more impactful and personal.

i rambled a lot but essentially you should 1000% read skip to loafer. there is nothing else i would more sincerely recommend than skip to loafer. love and warmth and friendship and the development of the self is stored in skip to loafer

#meowful talks #skip to loafer #skip and loafer #i said give me a fortnight but then i snapped #PLEASE PLEASE PLEASE READ SKIP TO LOAFER #this is so difficult to follow but i hope this convinces at least one person to try skip to loafer

[toyaslove]

Hey is it ok that i request??

can the fantasista squad (separately pls!) with a reader who REALLY likes mahou shoujos?(magical girls) like a hyperfixation on them and they develope a coping mechanism on the and their room is cutecore themed? (also is it ok if the reader is a part of mmj feel free to ignore this part tho)

A/N: Hey there! How are you? Thank you so much for requesting! I'm happy that you guys are sending me requests! Ofc I can do this!!

Fantasista Squad (separately) x Cutecore!Reader

> When Tsukasa entered your bedroom, the first thing that he noticed was all your plushies, HE THINKS IT'S SO CUTE PLLSSSS

> He hold a Hello Kitty plushie until he leaves your house

> He's fascinated with your bedroom. When he entered over there, he screamed like, "HOOOOO?! SO CUTE" literally he says that

> Btw, your style/bedroom number one fan

> When he discovered that you're from MMJ he's impressed, you really sing and dance really well and he always say you that

— "Wow... you're such an interesting person, I love you more than before after knowing more about you!"

> He's another one who is fascinated

> He does a crazy invention specially for you, as cute as you for helping you, and you have it in your bedroom. Every time that you miss him, you look at it and remember him

> When he discovered that you're from MMJ, he learned some dances just to messing around with you, just in an innocent way, he's nothing planning to hurt you, if you don't like he does it he would stop to do

> He takes your cat headset and puts on his head and say like "Meow, I'm your cat now" WJNFKAJRKWK

> He knows how you feel having some hyperfixation

"I loved your bedroom! Let's bet to see who has the prettiest bedroom~"

> I'm sorry... but he digs you about it HAKFHAKFK

> He's always digging you about it, but inside, he thinks that it is incredible that you have so much courage to express what you are... he thinks that is incredible even more than Tsukasa and Rui

> He in off want so hard to take your cute accessories and use them, but he doesn't have proud to do this

> When he discovered that you're from MMJ, the jokes just gotten more and more, but some time after it, Toya gives him some lectures, and he apologizes to you, he really is feeling bad, comfort this poor ginger

"Nah... I'm sorry... for that jokes, y'know? I was a bad boyfriend for you, that'll not happen again"

> If you encourage him, he would be sincere and'll use your accessories, you're in shock

> Differently for a certain ginger, he'll not hide that he's fascinated and want to use your accessories, of course he would ask you, he would never in this world use something yours without asking your permission (he's so adorable </3)

> He's the most fascinated man from all of that we got. He tells everyone how his S/O is cute, amazing and unique, of course, if it didn't make you uncomfortable

> When he discovered that you're from MMJ he's your biggest fan, he attend from all your lives, videos, shows, everything without an exception, and he apologizes that he didn't know it before. He just would miss one if he had some emergency or something really important or serious because he wants to show you that he cares about you

"I'm astonished with your way to be, my dove. You really are someone special and unique, didn't you? I love it! I love you as you love mahou shoujos!"

> He loves you so much and he thinks you're the cutest person in this world

A/N: I'm sorry if I write something wrong about Rui or Tsukasa, how I said, I don't know them well! BTW, thanks for reading!!

#rui kamishiro x reader #tsukasa tenma x reader #toya aoyagi x reader #akito shinonome x reader #fantasista squad #project sekai x reader #project sekai #project sekai colorful stage #toya aoyagi #akito shinonome #tsukasa tenma #rui kamishiro

[osharenippon]

Shoujo Manga’s Golden Decade (Part 1)

Shoujo manga, comics for girls, played a pivotal role in shaping Japanese girls' culture, and its dynamic evolution mirrors the prevailing trends and aspirations of the era. For many, this genre peaked in the 1970s. But why?

Manga stands as one of Japan's primary cultural exports, deeply ingrained in the local culture and enjoyed by individuals of all ages and genders across various genres. Conventionally, manga is divided into two editorial segments: shonen (targeted at boys) and shoujo (targeted at girls). While shonen manga, propelled by hits like "Dragon Ball," "Slam Dunk," "Naruto," and "One Piece," has achieved global popularity, girls' comics, with their own international sensations such as "Sailor Moon," hold a crucial position in the market. The evolving landscape of girls' manga serves as a fascinating lens through which to observe the shifting fashionable aspirations and beauty ideals within Japanese society.

Shoujo manga has a rich history, dating back to the early 20th century. However, it truly gained recognition in its modern form in the late '50s and early '60s when prominent Japanese publishers introduced shoujo manga anthologies such as Kodansha's Nakayoshi and Shoujo Friend, as well as Shueisha's Ribon and Margaret. The acclaimed "godfather of manga," Osamu Tezuka, is often credited with creating the first modern shoujo, "The Princess Knight," in 1954, and the first shonen, "Astro Boy," in 1952.

A distinguishing feature of shoujo manga is that it is created by and for girls. But, in the '50s, this wasn't the case, and male artists dominated the shoujo field, which was considered an entryway to the manga business. By the 1960s, that would change as publishers recognized that women creators possessed a unique proficiency in crafting narratives centered around female experiences. Female manga-kas resonated with readers in a way that many male artists couldn't, marking a crucial shift in the landscape of shoujo manga.

The Volleyball Craze

A notable display of how shoujo could mirror societal trends unfolded in the '60s. In 1964, the Tokyo Olympics marked a new beginning for post-war Japan, and the female volleyball team, known as Toyo no Majou (the Oriental Witches), achieved stardom by clinching victory in the finals against the Soviet Republic. This triumph triggered a nationwide "volleyball boom," resonating particularly within the shoujo manga realm.

Shueisha's Ribon, historically the leader in the shoujo manga field, started publication in 1955. Still, the editorial house would only begin to make its series available in standalone tankobon format almost 15 years later through the now iconic Ribon Mascot Comics imprint. The first series to be made available by the imprint was Chikako Ide's "Viva Volleyball."

Simultaneously, over at Kodansha, Shoujo Friend was also eager to capitalize on the boom. Editors commissioned a title about the sport from illustrator Akira Mochizuki and novelist Shiro Jimbo. The final project, "Sign wa V," became a multimedia success, being quickly adapted into a live-action TV drama that achieved very high ratings.

While "Viva! Volleyball" and "Sign wa V" enjoyed success in their time, they did not etch themselves into the collective memory. The true shoujo sports manga blockbuster, a cross-generational classic universally known in Japan, is Chikako Urano's "Attack No. 1," serialized from 1968 to 1970 in Weekly Margaret.

It became the first shoujo manga title to surpass ten tankobon volumes (it had a total of 12 volumes), and it was forever immortalized thanks to its 1970 anime adaptation, which reached huge ratings on Japanese TV. Everything about "Attack No. 1" -- from the original manga to the cartoon adaptation to the anime's theme song, which sold over 700k copies as a single -- was a success.

The story of a high school girl trying to become the best player in her school, in Japan, and, eventually, in the world became a phenomenon setting the stage for the '70s "golden era of shoujo."

The Shoujo Lost Years

Until the '70s, manga carried the stigma of being a guilty pleasure, often viewed as a "poison" meant to dumb down young readers. Despite a few discerning individuals recognizing the medium's potential, manga critics, enthusiasts, and tastemakers — predominantly men — largely disregarded female-centric comics. Shoujo manga, despite its immense popularity, faced the harshest criticism.

Because society and critics downplayed shoujo, influential shoujo manga-kas from the '50s and '60s, such as Hideko Mizuno, do not enjoy the same level of recognition as their shonen counterparts from that era.

Hideko Mizuno and a page of one of her most celebrated works, "Fire."

Mizuno was one of the first women to create manga, worked as an assistant to Osamu Tezuka, and was behind several massive hits that had a significant impact on women in the '50s, '60s, and '70s. In fact, the most iconic shoujo manga-kas from the '70s golden period directly mention her as an influence. She fought to include romance -- now the essential element in girls' manga -- in her works back when such topics were deemed inappropriate by male editors.

Mizuno's repertoire was vast: she wrote mangas about little girls and their poneys, magic adventures, and romcoms based on Audrey Hepburn's movies, and she drew the first sex scene in a shoujo manga. The manga in question was "Fire," a teen-targeted manga featuring a rebellious American rocker, which broke new ground by having a male character as its focal point. Alongside other notable female artists from the '60s, Mizuno laid the groundwork for the '70s shoujo explosion, during which girls' comics took center stage.

In 1960's "Hoshi no Tategoto" (left,) Hideko Mizuno created the first shoujo love story. Serialized in Weekly Margaret between 1964 and 65, "Shiroi Troika," set during the Russian Revolution, was the first historical shoujo manga.

A contributing factor to this "golden period" was the emergence of several shoujo mangas as unstoppable hits, selling millions of copies and becoming cultural phenomena. These titles, considered masterpieces, continue to be read and known by multiple generations.

The BeruBara Boom

"Attack No. 1"'s success spread far and wide, forcing Japanese society to take note of the potential of the shoujo segment. Right after this historic success, Shueisha's Weekly Margaret hit the jackpot once again with another epoch-defining manga hit, Ryoko Ikeda's "The Rose of Versailles," which debuted in 1972. Set in the years preceding and during the French Revolution, it weaved together historical figures like Marie Antoinette and fictional ones, like the iconic Lady Oscar, a handsome noblewoman raised as a boy to succeed her father as the commander of the Royal Guard at the Palace of Versailles.

The first volume of the original comic had Marie Antoinette on the cover as Margaret's editors believed she'd be the favorite character. However, the androgynous Lady Oscar turned into a fan fave and the absolute star of the series, which is reflected on the cover of most rereleases since then, including the 2013 bunko version seen above.

When talking about shoujo manga classics from the '70s recognized by literally everyone in Japan, "Rose of Versailles" is probably the first name that comes to mind. It was a hit that really defined the era and impacted the country as a whole. While Marie Antoinette is seen around the world as a tragic, out-of-touch figure, in Japan, many women and girls see her as an aspirational historical fashion icon. While Sofia Coppola's 2006 film "Marie Antoinette" solidified this among younger generations, it was Ikeda's gentle portrait that made her a character loved by so many across all age groups.

When conceptualizing the story, Ikeda was heavily inspired by Stefan Zweig's "Marie Antoinette: The Portrait of an Average Woman," which she read while in high school. Once in college, in the late '60s, she, like millions of others, was heavily involved with the Marxist student movements. These references led to a historical romance that touched on heavy and revolutionary themes, which was atypical for a shoujo manga, a segment that, back then, was primarily catered to elementary school-aged girls.

Because of its unorthodox concept, Margaret's editors were unsure about the series. But right from the start, "BeruBara" (derived from the original Japanese title, "Berusaiyu no Bara"), serialized between 1972 and 1973, was an explosive hit, quickly turning into Weekly Margaret's most popular series. It was compiled in 10 tankobon volumes published, which sold tens of millions of copies.

In 1974, after the original manga had finished its serialization, Takarazuka Revue, an all-female theatrical troupe, announced a stage adaptation of the story.

Posters of the first three Takarazuka adaptations, from between 1974 and 1975. Since then, the Revue has adapted the manga 11 times, with a new run scheduled for 2024.

The Revue was established in 1913 by the owner of Kansai's leading railway company, Hankyu, to boost tourism to the city of Takarazuka, his line's last stop. It was a huge success, and soon, the group had its own luxurious theater as well as its very exclusive academy where young ladies underwent an arduous audition process to become Takaraziennes. In 1934, a second Takarazuka theater opened in Tokyo. 

However, in the early 1970s, Takarazuka faced stagnation, with declining ticket sales attributed to the growing popularity of alternative entertainment forms such as cinema and television.

In 1973, Shinji Ueda, who had risen through the Takarazuka ranks as a director, made his debut as a playwriter in the company with a musical based on ancient Japanese history. While thinking about his next project, he decided to check out a manga popular with some Takarazuka fans, "Rose of Versailles," and he quickly realized it was the perfect theme for an adaptation. Lady Oscar, who had lady-like features but was also as handsome as a man, was the embodiment of the male role-playing Takaraziennes. Ueda reached out to Ryoko Ikeda, who, as an admirer of the troupe, quickly granted the rights.

But Ikeda and Ueda's excitement wasn't shared by many. Most of the Takarazuka team were skeptical about a play inspired by something as vulgar as a manga. Fans of the original were also highly protective of its characters and entirely against a live adaptation.

Amid this climate of distrust, the play opened at the end of August 1974 at the Takarazuka Grand Theater. The reaction after the first night was extremely positive. Soon, Takarazuka's "Rose of Versailles" was the hottest ticket in all of Japan, with the press breathlessly covering the "BeruBara boom" that led thousands of people to stand hours in line to get tickets to the coveted performances in Kansai and Tokyo. Ikeda herself was shocked by the media phenomenon when she returned from an overseas trip and had hundreds of reporters awaiting her at the airport.

A statue of Lady Oscar and Andre surrounded by rose bushes sits outside the Takarazuka Grand Theater in Hyogo, Japan.

The "BeruBara" phenomenon single-handedly reversed Takarazuka's fortunes, leading to record-shattering ticket sales for the company. The Takarazuka Academy, which had seen declining applicants, suddenly became highly sought-after again, originating the saying "Todai in the East, Takarazuka in the West," comparing it to Tokyo University, the most prestigious university in Japan. The phrase underscored the desirability and prestige associated with a position at the troupe. 

Ultimately, the success of "The Rose of Versailles" propelled Takarazuka back to the pinnacle of the entertainment industry, a position it maintains to this day. The brand continues to hold great esteem among women of all ages in Japan, with Takarazuka's stage adaptations, derived from Broadway musicals, movies, novels, and shoujo manga, consistently selling out. Notably, various adaptations of "BeruBara" have collectively sold over 5 million tickets since 1974.

Following the manga and Takarazuka adaptation's explosive success, the anime debuted in 1979. While the anime received acclaim, Ikeda herself was not entirely satisfied, mainly due to the treatment of her favorite character, Andre, who played a significant role in the manga but had a minor presence in the animated version, which focused almost entirely on the manga's most popular character, Lady Oscar.

In 2013, celebrating Margaret's 50th anniversary, new special chapters of "BeruBara" were published. The first new story in 40 years resulted in Margaret magazine selling out across the country.

"BeruBara" remains a prominent franchise in Japan, spawning numerous licensed products, sequels, and spin-offs. Ryoko Ikeda, known for other successful series, continues to garner widespread respect and media attention. However, while almost everything related to "The Rose of Versailles" turned into a hit, there was an exception.

In March 1979, a few months before the anime premiere, a live-action film adaptation debuted with great fanfare. Fittingly for such a hot property, the movie was one of the most ambitious productions in Japanese cinema, with a substantial 1 billion yen budget. 

The Palace of Versailles granted permission to shoot in its interior. The film was filmed in English, with a European cast. The project was helmed by France's hottest movie director, Jacques Demy. Demy wasn't respected only in the West but also in Japan, where his two most important films, "The Umbrellas of Cherbourg" (1964) and "The Young Girls of Rochefort (1967)," were also hits. In fact, to this day, both flicks remain popular among trend-conscious Japanese as examples of stylish oshare movies that fully capture aspirational girls' culture (alongside, among others, Sofia Coppola's "Marie Antoinette"). Demy, the mind behind dreamy, girly movies, seemed like the perfect choice to turn this blockbuster shoujo classic into a live-action film.

The movie had the backing of three gigantic domestic corporations: Toho, the leading Japanese movie distributor; Nihon Terebi (NTV), one of the main TV stations; and cosmetic giant Shiseido. NTV and Shiseido made sure the movie had one of the most extensive marketing campaigns Japan had ever witnessed. The TV station aired specials and segments on this grand production. Meanwhile, Shiseido made the star of the movie -- British actress Catriona McCall, who played Oscar -- the face of its spring campaign, promoting its new Red Rose lipstick. Catriona was plastered on billboards across the country, made media and department store appearances, and starred in luxurious TV spots.

On the left, Lady Oscar and Marie Antoinette adorn the cover of Margaret in 2016, over 40 years after the end of the original serialization. On the right, Oscar models Dolce & Gabanna new collection for high-end fashion magazine Spur in 2014, celebrating 40 years of the conclusion of the original manga.

Back then, Kanebo, the second biggest local cosmetic company, was in fierce competition with Shiseido. TV ads from both companies had a tremendous impact, propelling singles to the top of the charts, and there was a battle on which commercial would feature the biggest hit. But, in the spring of 79, the focus of the fight changed. As a response to the Catriona "Rose of Versailles" campaign, Kanebo also hired a British beauty, actress Olivia Hussey, and launched a "Super Rose lipstick" with the tagline "You are more beautiful than a rose." The cosmetics war was another proof of the chokehold "The Rose of Versailles" had in the decade.

But, when the movie finally premiered, it was a flop. Critics hated it. Japanese fans thought the adaptation was weak and lacked impact. Catriona, in particular, was very criticized for not conveying Oscar's androgynous charm, which perfectly balanced masculinity and femininity. With the well-received anime premiering just a few months later, the expensive movie adaptation ended up being outshined and forgotten. It became only a costly footnote in its history.

An exhibition in Tokyo celebrates 50 years of BeruBara in 2022.

(It's worth noting that Kanebo clearly won the CM war. The "You Are More Beautiful than a Rose" song they commissioned from singer Akira Fuse became a considerable hit).

Movie aside, "The Rose of Versailles" is one of Japan's most beloved comics. From its debut in 1971 to its film and anime adaptation in 1979, it remained front and center in the country's mind throughout the whole decade. Its impact was felt in different fields, from the cosmetic business to the publishing business, from live theater to TV. It also forever changed how shoujo manga was perceived and remains one of the country's most beloved properties.

Ace-Scoring Manga

The 1970s marked a turning point for shoujo manga, as it began to gain recognition beyond its traditional audience, propelled not just by critical acclaim but by commercial success. The era witnessed the emergence of several blockbusters that captured the public's imagination. Notable among them were Yoko Shoji's "Seito Shokun," a tale centered on the daily exploits of a mischievous high-schooler, and Waki Yamato's "Haikara-san ga Toru," a love story set in the Meiji period featuring a tomboy with a lady-like demeanor. These manga were significant hits during their publication in Shoujo Friends, becoming best-selling titles.

Some shoujo classics from the '70s are still in publication today, appealing to a diverse readership spanning multiple generations. Suzue Michi's "Glass Mask," serialized in Hana to Yume since 1976, remains a cultural phenomenon with 49 tankobon volumes, over 55 million copies sold, an anime adaptation, a live-action drama, and a stage play. Similarly, Chieko Hosokawa's "Crest of the Royal Family," chronicling the adventures of a young American girl transported to ancient Egypt, has been a consistent presence in Princess magazine since 1976, boasting 69 volumes and over 45 million copies sold to date.

But, when talking about definitive shoujo classics from the '70s, titles that were historical successes, influenced everything going forward, and are known by everyone, three titles come to mind. We already explored one of these, "The Rose of Versailles." One of the other three is "Ace wo Nerae."

Following the monumental success of "Attack No. 1," the prospects of another shoujo sports manga achieving similar heights of popularity seemed improbable. However, Weekly Margaret defied expectations once more in 1973 with the release of Suzumika Yamamoto's "Ace wo Nerae" ("Aim for the Ace"), a compelling narrative focused on tennis that swiftly captured the nation's attention.

Japan and tennis already had some prior history. The first Japanese Olympic medalist was a tennis player, Ichy Kumagae, in 1920. Emperor Akihito met his commoner wife, Michiko, at a tennis match, and they initially bonded over their love for the sport. But, in the 70s, the country was taken over by an unprecedented tennis boom. At high schools across the nation, tennis became the most popular after-school activity. Fashion magazines like JJ and Popeye dedicated pages and pages to "tennis fashion." At the same time, trendy young adults decked in clothes from sports brands populated Shibuya and other stylish districts in Tokyo.

There were several contributors to the tennis boom. But the remarkable success of "Ace wo Nerae," which first conquered girls before dominating the nation, played a part in it.

The manga follows the journey of Hiromi Oka, a high school student initially plagued by insecurities but propelled into the world of tennis through the encouragement of her coach. "Ace wo Nerae" portrays her growth from a hesitant newcomer to a world-class tennis player, navigating challenges and discovering hidden potential along the way.

From left to right: Madame Butterfly, lead character Hiromi Oka and coach Jin Murakata as depicted in the anime. Madame Butterfly, a rich wealthy student who was gentle and a world-class tennis player, is a fan favorite character.

In 1973, "Ace wo Nerae" was adapted into an anime. Despite initial modest ratings, the anime gained popularity through reruns. Encouraged by this, NTV decided to remake the cartoon. The second adaptation, which debuted in 1978, was an immediate hit. Concurrently, Weekly Margaret revived the manga series, which, after being first finalized in 1975, ran again from 1978 to 1980, spanning a total of 18 volumes.

Since "Ace wo Nerae," several hit mangas focused on tennis -- both shoujo and shonen -- were published. But, thanks to the success of its anime and the intragenerational support for the manga, the original work by Suzumika Yamamoto is still considered one of the defining and most beloved works about the sport. Its role in propelling tennis culture as part of the oshare youth culture of the '70s also defines its impact.

Japan Wants Candy

Following the monumental multimedia success of "The Rose of Versailles" and "Ace wo Nerae," the third shoujo sensation of the '70s is "Candy Candy."

Initially published in Nakayoshi, the story started taking shape when editors at the magazine sought a work of literary excellence akin to beloved classics popular among girls, like "Heidi" and "Anne of Green Gables." They enlisted Keiko Nagita, writing under the pen name Kyoko Mizuki, and paired her with one of the magazine's most famous artists, Yumiko Igarashi. The collaborative effort resulted in the creation of "Candy Candy," centered around an American, blond, blue-eyed orphan named Candice "Candy" White Ardlay.

"Candy Candy" epitomized various shoujo directions prevalent in the '70s. The protagonist, a white girl with lustrous blonde hair, embodied the fascination with Western culture during a time when Japanese youth held a keen interest in Europe and the United States. The manga's narrative style, characterized by its dramatic tone and intricate plot twists, also aligned with the prevalent storytelling preferences of the era.

Candy Candy was such a resounding success that it became the first manga to achieve an initial print run of over 1 million copies of one of its paperback compilations.

Debuting in 1975, "Candy Candy" swiftly captured the hearts of Nakayoshi's readers, leading to unprecedented success. The subsequent anime adaptation by Toei in the following year propelled the franchise into the realm of a cultural phenomenon, sending manga tankobon sales skyrocketing. The seventh volume of the "Candy Candy" compiled paperback reportedly became the first Japanese manga to achieve an initial print run of over 1 million copies. Additionally, Nakayoshi's sales surged, surpassing those of Shueisha's Ribon for the first (and only) time.

The adventures of young Candy were also licensing gold. With over 100 licensed products, the "Candy Candy" doll alone sold 2 million units, solidifying Bandai's position as Japan's premier toymaker, a status it continues to uphold to this day. The resounding success of "Candy Candy" forged a lasting alliance between Kodansha's Nakayoshi, Toei Animation, and toymaker Bandai, which led to the iconic "Sailor Moon" franchise in the 1990s.

While "Candy Candy" concluded its run in 1979, its appeal extended far beyond its original target demographic, captivating kids, teenagers, and adults alike, thus contributing significantly to the manga and anime's widespread acclaim and enduring popularity.

However, a protracted legal dispute between Igarashi and Nagita has prevented the commercialization of any "Candy Candy" related products since the late 1990s, including reprints of the manga and re-broadcasting of the anime. The lawsuit arose from Igarashi's unauthorized licensing of merchandise based on the franchise, falsely asserting sole ownership of the copyright. Although Igarashi was initially credited as the lead artist in Nakayoshi during the manga's publication, the court ultimately ruled in Nagita's favor, emphasizing that Igarashi's artistic foundation was built upon Nagita's written work.

A collection of "Candy Candy" freebies offered by Nakayoshi magazine in the '70s. During the publication of the series, Nakayoshi would eclipse Ribon's sales for the one and only time in its history, (image credit)

Consequently, any commercial exploitation of Yumiko Igarashi's "Candy Candy" artwork necessitates the approval of both Igarashi and Nagita, a challenging prospect given the existing feud. Nagita, on the other hand, can profit from "Candy Candy" as long as she doesn't include any illustrations, which allowed her to release a book sequel in 2010. However, due to the dispute, one of the most beloved works in Japanese manga history is currently out of print. The lawsuit also blocks the anime from being aired or distributed. But, despite the almost two-decades-long media ban, "Candy Candy" remains widely known and beloved across Japan, a testament to its staying power.

While smash hits like "Candy Candy," "Ace wo Nerae," "Rose of Versailles," "Seito Shokun," "Hikara-san ga Tooru," and "Glass Mask," among others were key pieces into shoujo finally earning the respect it deserved, the rise of a revolutionary group of artists during the '70s was another critical element in shoujo's rise: the Year of 24 Group.

Part 2

#1970s japan #1970s #vintage shoujo #shoujo manga #lady oscar #rose of versailles #ace wo nerae #candy candy

[woltourney]

ROUND 3 / SIDE B / POLL 3

Stelak Ganzthuv (@drtanner) v. Lopu Rhaavuna (@mages-ballad)

Stelak Ganzthuv:

q. What is your WoL name and pronouns? a. Stelak Ganzthuv (he/him)

q. What is your WoL's species? a. Roegadyn

q. What is your WoL's class? Or classes? a. Gunbreaker, Bard

q. What data centre/server are you on, if you want people to find you? a. Crystal/Malboro! Come say hi!

q. Tell us a bit about your WoL! a. Stelak is an amnesiac and can't remember anything about who he was before he arrived in Gridania. He woke up in the back that cart with nothing but a name, the clothes on his back and a robust set of instincts and principles, and while he has no memory of his life before then - if, indeed, he existed at all - he knows he's a whore. That's his literal job, he's a sex worker, he knows how to do that and he's very good at it. He's also picked up playing music suspiciously quickly, so there's a decent chance he might have been a bard previously, too. To Stelak's knowledge, Hydaelyn pretty much just plucked him out of the aether, or from wherever, to be Her hero, and Stelak is a little reluctant in his role but he's keenly aware that he has little choice in the matter; everything will go to shit in a big hurry if he doesn't step up when people need him to step up, and as much as he'd rather be doing other things and really doesn't enjoy the recognition or fame he gets for being the WoL, there's precious little to be done about it. He's doing his best, lmao.

q. Why should YOU win? (Answer IC!) a. "I'm gonna be honest with you, darlin'. I don't mind, I'm just here for a laugh." Stelak pauses, glancing away for a moment, considering. "… Sayin' that, though. Please. I'm very tired." His brow knots as he gives a weary smile. "It would be very nice to get a little appreciation for once."

q. Anything else you wanna add? a. Stelak is available for hire. Just sayin'. 💜

Lopu Rhaavuna:

q. What is your WoL name and pronouns? a. Lopu Rhaavuna, she/her

q. What is your WoL's species? a. Keeper of the Moon Miqo'te

q. What is your WoL's class? Or classes? a. IC-ly her primary jobs are Bard and Dancer. Secondary to that, Sage and Reaper. (Note from submitter: CUL and BOT)

q. What data centre/server are you on, if you want people to find you? a. Mateus [Crystal]

q. Tell us a bit about your WoL! a. I took inspiration for Lopu's character and story from the mahou shoujo genre, with the core elements being that a seemingly-average girl discovers she actually has the capability for magical powers, and uses those to help spread hope and save others. Love is a major theme for Lopu, and its what gives her the strength and motivation to do what she does. Lopu grew up in Gridania, where she left and became the Warrior of Light at age 25. She's always had a deep feeling of wanderlust within her, and the events of the MSQ are what kickstart her into being able to get out and see the world. She's lived her life knowing there had to eventually be more out there for her, and her assumptions are proven right as she takes up the title of the WoL and makes herself known. She's no doubt had her ups and downs, but never once has she regret her journey. Others may call her a hero; but even after all this time she still considers herself just an adventurer that likes to help people. In her free time, Lopu has a few hobbies she likes to indulge in! She's very big on cooking and sharing the food she makes, gardening and growing her own ingredients, hunting, training, running Treasure Maps, and of course hanging out with the Scions. Outside of saving the universe, she's a very sweet and humble woman.

q. Why should YOU win? (Answer IC!) a. "Ah? Um…" Lopu takes a lock of her thick hair to twirl around and play with while she ponders the question. "I think I should win because… It would make me really happy if I did?" She laughs a little, giving a flash of fangs. "Truthfully, I can't really think of a good reason! I guess there is the fact I saved the universe, but I wouldn't want people to feel obliged to put me on a pedestal just for that." "Maybe… If I win, I'll bake a huge celebratory cake to share with everyone! That works, right? People tend to be more motivated to vote if there's food involved, yes?"

q. Anything else you wanna add? a. AS HER CREATOR I SAY VOTE FOR LOPU BECAUSE SHE IS SO CUTE AND HUGGABLE AND SILLYGIRL-CORE AND HAS THICK THIGHS AND I LIKE HER A LOT AND ALSO IF SHE WINS I WILL ACTUALLY DO A GPOSE OF HER AND THE CAKE AND EVERYONE CAN HAVE SOME!!!!! VOTE FOR LOPU #LOPUSWEEP #LOPUSWEEP #LOPUSWEEP #LOPUSWEEP #LOPUSWEEP

#💎 shout #💎 round three

[stardustizuku]

I have to ask out of curiosity, on the TVTropes wiki page, the Miraculous Ladybug page says that the show is a Magical Girl/Superhero genre hybrid of sorts. If you believe that is the case, since I believe it might be just speculation, would that change or impact what the rules can be established or removed in either of these genres?

The reason why I made the essay with Magical Girls at its focus - was simply because I’m more well versed in Magical Girl stories than super heroes. As well as the fact that it hurt me deeply as a fan of that genre.

But let it be known. Miraculous Ladybug suck ass as a Superhero story too.

For mostly the same reasons as I stated in the Magical Girl Analysis because…

Well, Magical Girls ARE superheroes.

Like, sexism has sort of wrapped peoples’ idea of what Magical Girls are but despite all the frills and cuteness - these are girls that fight evil on a daily with super powers and secret identities.

You see, Japan and the USA have very different ways of marketing their animated show for children. Japan has a very gendered demographic, you have Shoujo and you have Shounen. They’re aimed for different audiences. While boys have stuff like Kamen Raiden and Super Seitan, girls have Pretty Cure. They serve the exact same purpose they’re just - gendered differently.

The USA has…also! Gender. Just. One.

It’s supposed a nebulous “kids” with mass appeal, aka unisex of sorts…? But no, really it’s just boys. And maybe girls to get them to buy toys.

When it comes to superheroes in particular, that’s the main difference.

It’s not a Magical Girl with Superhero thing, but American Superhero for girls with Japanese Superhero for girls.

The real issue MLB has when it tries to shoehorn in the Superhero theme is that…it sorta sucks?

Like, if it’s lagging behind Magical Girl adjacent takes in the western hemisphere, it’s outright losing in the SuperHero department.

While Anime has been sort of mainstream for the last 20 or so years (maybe less), which leads to maybe 15 years worth of Magical Girl takes in western cartoons…

There’s almost a century worth of Superheroes before MLB.

Everything that could have been done by MLB was done by superhero stories at least in the 1970’s.

Even the idea of “girls superhero” is something seen before. Like, we have the powerpuff girls, we have wordgirl, we have Kim Possible, DC superhero girls, totally spies…

It’s not a new concept. In fact, superheroes are such a common concept that blockbuster movies are running out of ideas. So they’re throwing everything they can at the board to see what sticks, creating something so Goddamned convoluted no one has the brain energy left to keep up with it.

Sounds familiar?

It’s obvious that the creative team took heavy inspiration from magical girls to make their superhero story. In their head, and at surface level, this makes sense.

BUT as I’ve stated above, there’s a cultural difference between Magical Girls and Superheroes each baked into the identity of each genre.

This is the rough equivalent of trying to mix English Mythology with Japanese Mythology, knowing only about yokai and fairies in regards to each…if you know nothing it sorta makes sense but if you KNOW

Then it’s total BS

Which by the way, American and Japanaese superheroes mixed in, with Chinese culture as powers made by a French guy who knows next to nothing about any of these cultures…

Do you get why I keep calling Thomas’ weird attitudes towards his project a “fetishization”? It’s because it is.

To summarize, even if you take this show as more of a Superhero story, it still sucks. My points would (for the most part) still stand. With the added caviar that it’s not only shameful for its lack of interest in its own genre - but the fact that every single person and their mother would see the story as 100x more uninspired. Because at least 5 other comics from 70s would have done smth similar with either powers or identities.

The only redeeming quality it had was it target towards little girls and doing so by borrowing the Magical girl aesthetic.

Which it fucking spat on and I’m still pissed about it.

In regards, and trying to answer your question - it’s complicated.

This would essentially be a massive cultural exchange challenge.

For example, the reason why superheroes in the USA have powers given to them as failed experiments and radioactive waste, while Japan has magic or aliens… is very much tied to their history and cultural identity.

The values that each have reflect on their superheroes too - American Superheroes may value individualism more than Japanese superheroes do.

And again, there’s the whole gendered thing. Superheroes stories in the USA tend to lean more gender neutral for mass appeal, Japanese superheroes are very heavily coded as in what they’re meant for. (Cough the reason why there’s so much queer subtext in magical girl stories cough)

So, asking the question “what rules should it make so that it’s a hybrid between these two genres”, while a valid one, I’m not sure I can be the one to answer it.

Because it depends. On what the creator saw, what they wanted, what they intended to say by mixing these two.

This is not something you ask AFTER you’ve your show. These are the questions you ask BEFORE it.

To properly create a hybrid, you ought to have a vision. And take parts of each to create what you wanted to say.

MLB borrows (or should I say steal?) aesthetics and surface level aspects of both genres. It broke as many American superhero rules as it did magical girl ones.

In specific, The Alger Ego and Theme stands as something it fucked over in BOTH. But it also failed superheroes. In what way, I really wouldn’t be able to tell.

I’m not a fan of superheroes. I don’t know why people like them, I don’t know why they watch them. I have a mild understanding of them but trying to tell you in the same depth as I did in the Magical Girl Essay what exactly they did wrong…would be an impossible task to me.

But if Thomas thinks that we, the magical girl fans, are mean to him…oh boy. Wait till he tells a Marvel Stan he thinks he’s made the best superhero story ever.

I would pay money for that

#miraculous ladybug #mlb salt #askloli

[olderthannetfic]

that anon talking about drag and bl pointed out something i've been thinking: do the queer men who complain about bl only do that bc they don't like the fact that the thing they like (bl) isn't written by men? i also don't really know what they want or expect to happen. if all afab stopped making and enjoying bl, it would cease to exist. bl comes from shoujo which comes from romance which comes from sentimental fiction. those are all genres typically made for and by women. men make some too but with the expectation it will be liked by women. men make bl but they know their audience isn't men. how can ppl like somerton and anti-types say that women are taking up space from queer men in publishing when mm written by mlm and bl have different literary origins. that's like saying the romance genre is taking up space from mystery... it's not. is it really that hard for the men who like bl to admit that reason they like it is because of its different origins or because it's different from serious mm fiction? because if bl were made by men it would be completely different. it seems like they want bl to be the same pretty much but made by men which isn't possible. if it were made by men, it wouldn't be bl anymore, it would be different in tone and theme. like i don't think a mlm writing in the literary tradition of mlm could have ever made something like mxtx's works because hers are made in the tradition of sentimental fiction. some of mishima's stories are similar to 'painter of the night' but the tone and themes of potn make it clear it's also from sentimental fiction... a man most likely wouldn't have made that.

--i know it sounds like gender essentialism, but the world is made of binaries and despite how we feel, we have to engage with the real world.-- do you have any thoughts? or anyone else? because it feels like a weird catch 22 to me?

--

Yes. They are mad because they want everything they enjoy to be For Men.

Some of them are mad because their own fic/writing/whatever is not as popular as somebody else's.

Many have been poisoned by the obsession with narrow parameters of "authenticity" and "good representation" and genuinely think they'll make m/m art better or more socially acceptable with their bullshit.

[king-artoria]

Random Beefleaf thoughts! #1

One of the most interesting and fun concepts I get to enjoy with Beefleaf is how stark their worldviews are compared to each other. So, now that I finished my first reading of TCGF, I wanted to talk about it.

Because beefleaf’s theme is about how they are soulmates of a kind, you know that SQX’s “ignorant” (debatable) outlook on life is something that could have been a trait of HX. He could have never waken up, forever a privileged noble. Who knows? But from that, it makes SQX’s worldview much more interesting to consider. They’re naturally sanguine and can find the silver lining easily, but also can be inconsiderate. When I see those traits, I think “shoujo/shouldn’t manga protagonist”. I think “rose colored lens”. Meanwhile, HX is deep in a mire of anger and self doubt, swirling around SQX like a shark circling prey, but he’s never able to finish the job. This sort of life would naturally make HX have a darker outlook on things.

Plus, HX is much more aware of the injustices of the world. He’s experienced it all himself.

But SQX “doesn’t understand” (in HX’s eyes) the world and that’s, from my reading, one of the biggest points of anger HX has with SQX. HX believes SQX doesn’t understand him and doesn’t empathize with him. And although HX obviously tries to get SQX to “get it”, it doesn’t work out for a myriad of reasons.

But I really like how, in this narrative, HX struggles to empathize with SQX. Or, could it be, that HX does empathize dangerously close to SQX, which is why he feels tormented?

So, the struggle could be, not that “I don’t understand SQX”, but “I do understand them, and that vexes me, because I don’t like that part of me that I see/I am reminded of what I lost/I wonder if there’s a different answer to my quest of revenge”.

(And then if you argue that SQX is “woke” and simply has a different answer to life’s questions the HX does, but HX is failing to see that, everything gets even more messy hehe)

My main point is, as a reader, I appreciate this style of FAKE black and white. When these two are onscreen, I wonder how they interpret the world that they see standing right by each other. I wonder if there’s a universe they could have reached a consensus.

I wonder what it is that is preventing them from truly connecting when they are artificially created soulmates. I want to read their scenes over again and see what I can tease out.

Also, offtopic kinda, but as a writer, i love the idea of sqx living in a shoujo romance world while hx is in a dark gothic fantasy seinen. An event like “SQX is cursed with kiss-your-true-love-or-else-you-die! What do!?” is a wildly different problem in those 2 genres!! It's like:

SQX: if I don’t kiss my true love I’ll die! Good thing I know who it is! (Giggles)

HX: so there is someone else I must kill in my quest? Does this 3rd party deserve to die for my revenge? Will it hurt SQX and not SWD? Is my justice just a twisted self satisfaction? (Angst)

#heaven official's blessing #beefleaf #tcgf #天官赐福 #双玄 #my writing #my art

[nyoomzz]

Thanks for answering my ask about why I suddenly love BL and GL more than het romance....I'm grateful to know that there is someone who also knew how I feel....

Do you mind if I ask your top 5 (or top 7) favorite BL and your top 3 (or top 5) favorite GL? And why do you love them? Sorry if you already answered them....Thanks again....

hiii no problem! sorry this took a while to answer im always bad at choosing top picks so this time i just went with my favorites that i consider still haven't seen talked about that much :D

(the titles with a star next to it are mature themes and/or has nsfw scenes, please don't read them if you're still below 18 years old)

yuri:

- *tsukiatte agete mo ii ka na (how do we relationship): i love how simply candid and honest it is at portraying messy relationships between not-quite-adults doing their best to grow. i really enjoy where the story is going because it's something you rarely see in manga!

- ohana holoholo: i wish there's more family-themed gl but im always happy we have this! it's painfully sincere and i love how we dive in into their lifes and see how they're involved with the bigger cast of characters

- shoujo manga protagonist x rival-san: a bit more of a lighthearted comedy, taking the standard trope of shoujo protagonist vs the love rival and putting a silly sapphic spin on it which is something that i absolutely need. its cute moments really shine through!

- yuri de naru ❤️ espoir (yuri espoir): my beloved that i can never shut up about. the cute artstyle takes you in a fun spin on meta commentary of yuri tropes only to slowly reveal that things might not be as sweet and happy as it seems... no one is doing it like them

- yuri to koe to kazo matoi: revolving around the feelings of women finding their place in the world, chasing for what they truly want. this is a bit of a spoiler but it centers around characters in the aromantic and asexual spectrum which makes it even more special to me!

bl:

- *iki dekinai no wa kimi no sei (breathless momentum): i love everything from the premise to how they grow to care about each other, it's hilarious and cute and their dynamic will always remain one of my favorites ever

- *tabun kore kara ai no hibi: the main theme about the joy and pain of creating just resonates so hard, the main characters' struggle portrays it very well and seeing the growth really made me happy!

- tonari ni: natsume ono's paneling and writing is just so special, there's this somber quality to it that absolutely draws me in. it complements very well the quiet yearning in the story

- *tenjite koi to iki: tbh this is just an excuse to talk about hayane dento's works, i always have a hard time choosing a favorite because they all have such great writing! i think about this one the most because of how melancholic it was paired with their beautiful storytelling

- boku no papa to papa no hanashi: ive read a lot of family-themed bl but this will always take the cake! the love this little family have for each other and how they grow together will always get to me

- *link and ring: just an absolutely loving relationship, you can see how much the main couple cares for each other it's just so sweet to read!

- achira kochira bokura: more slice of life than bl really and that's why it's so dear to me, it's a very natural depiction of two boys with opposite natures slowly being part of each other's lives. there's a sequel too!

#wow this is so long #i take yuri and yaoi very seriously

[fairygeek777]

Nah sorry I'm ranting for a bit.

I was watching the new Edens Zero episode. Nothing I didn't read in the manga. But I was just rolling my eyes because of this sh*t

WHY does this have to be included???? Why is Mashima ALWAYS using these kind of tropes??? I'm getting fricken irritated.

Rebecca's shirt is slightly torn right?

So she changes it TO THIS

How the hell is this better??? What reason was there to grab a couple leaves and make a makeshift crop top like she's fricken Tarzan.

And changing the subject a little bit, my bro is watching the Dressrosa arc of One Piece and it reminded me of something.

Not to be crass, BUT WHAT THE F**K IS THIS.

She might as well be fricken naked. I absolutely loathe this outfit and always have.

Idk if I'm watching and reading too much shoujo these days, but I just can't with this garbage anymore. It takes so much enjoyment out of watching Shonen series.

And I used to say Fairy Tail is my favorite series right? I DON'T THINK IT IS ANYMORE. I was reading the Tartaros arc and there was so much nudity. Like to the point I don't want to own those volumes. Between Lucy always losing her fricken clothes and Gray having a constant trope of appearing naked etc im just tired of it. I bought the Fairy Tail Illustrations artbooks not knowing its contents and I ended up selling them to a fellow student at college. Because I just didn't want them anymore.

This is also why I will never buy the Edens Zero manga. And why I'm just ignoring Dead Rock. Cuz who knows what that'll be about? Like yea Mashima is awesome when it comes to his fans, his work ethic and talent. But if he just didn't prioritize sexualization of characters. Y'know??

Honestly I'm someone who is incredibly squeamish about this kind of stuff. So Idk how I got so attached to these kind of series. Yea Fairy Tail's family themes and everything I've already talked about before are things I love. But at some point it just gets to be too much and completely overshadows the good points.

Eh I'm beating a dead horse. Bye now 👋😒

#anime rant #manga #anime #shonen #anti fanservice i guess #fairy tail #one piece #edens zero

[linabirb]

Lina I need to know more about your mahou shoujo story 👀👀

hi hi aurora!! warning 15 y/o lina's writing ahead

honestly i don't.. remember that story that well? it definitely was very important to me, but i cared about character designs and the mahou shoujo theme more than the actual plot jndksls

so from what i remember, that story didn't just have mahou shoujo elements and mental health theme. so like, you know how magical girls often have some kind of aesthetic they stick to? like animals, space, etc.. SO MY OCS HAD A CHEERLEADER THEME. THIS WAS MOSTLY AN EXCUSE FOR ME TO DRAW THEM IN CUTE CHEERLEADER UNIFORMS. but also it was important to the plot, because the whole story was supposed to be about some kind of game that the male characters were going to play and the girls were supposed to be here to support them or something like that.. i literally don't remember anything about the guys. i found them very boring and while i was able to draw references for all the giirls, with them i was like ". their outfits are so boring i don't wanna draw them" (younger me put her everything into female character designs and when it came to guys she was like "eh. you look fine i guess")

the only guy i remember (not counting the. the main guy) was basically just asahi but a redhead. i do not know why i already was so obsessed with all my original stories having a male character whose whole thing was that he's rich, spoiled and angry all the time, maybe that says smth about me.

the protag was a girl and here's the thing: her team was supposed to have five members, including herself. i remember every single member's mental illness/disorder BUT I DON'T REMEMBER ANYTHING ABOUT HER. i remember that other members had anxiety, depression, bipolar disorder and i think adhd? but i don't remember anything about the protag.. all i remember is that she was very silly and goofy and had some memory issues (ironic.)

about the main guy. he was like, kinda supposed to be her love interest (but i also made sure to give her more chemistry with all the other girls instead of him.) BUT. THERE WASN'T JUST ONE MAIN GUY. THERE WERE TWO OF THEM. and the only difference between them was their hair color and that one of them wore glasses. yeah. but also the other main guy was from an enemy team and he was kinda weird and basically was protag's stalker.

the main twist was that the whole thing took place in a virtual reality THAT WAS ACTUALLY VERY IMPORTANT BC IT WASN'T INTRODUCED ONLY IN THIS STORY, IT CONNECTED LIKE AT LEAST FIVE OF MY OC STORIES. AND THERE WAS THIS WHOLE LORE, I EVEN REMEMBER DRAWING A TIMELINE OF EVERYTHING. but anyway her love interest was actually already an adult in real life and he created this virtual reality because the main girl's irl counterpart had committed suicide right in front of him many years ago and he wanted to create a world where she could feel like the main character and could feel loved and appreciated by everyone. i do not remember why his other version (the stalker one) was there too. probably bc the dude had a really bad self-esteem and wanted to make himself the villain?? but he also made himself her love interest. sounds kinda problematic now that i think about it but also i was 15 trust me some of my writing was. a lot worse

but anyway in the end the irl counterpart of the main guy dies while trying to protect his invention from that criminal organization leader from that earlier post of mine (he doesn't succeed btw and that world will be used for some very bad things later). the girl doesn't know about it and continues living there not knowing her world is going to change and not in a good way. the end

#YEAH ALL OF MY OC STORIES WERE. REALLY DEPRESSING BACK THENSJSKSLSL #they still are but now i'm trying to give at least some hope. though i like to make my characters suffer a little too much! #i should clarify that i haven't actually. written a lot of my stories. like the timelines are there the lore is there art is there too #but i did not have the time and energy to actually write them tbh so they just existed in my head. yeah #[ 💌 𝐥𝐢𝐧𝐚 𝐚𝐧𝐬𝐰𝐞𝐫𝐬 ] #[ 💕 𝐥𝐢𝐧𝐚'𝐬 𝐟𝐫𝐢𝐞𝐧𝐝𝐬 ] #[ 💫𝐟𝐫𝐢𝐞𝐧𝐝: 𝐚𝐮𝐫𝐨𝐫𝐚 ]

[magicalgirlmascot]

Alright who wants to see my old Bionicle humanizations? These were from my modern/college!AU Metru Uni which I made when I was in college. These were all posted on dA circa 2011-12ish, and you have to understand these were drawn by hand, scanned into a computer, and edited using a laptop trackpad and MS Paint. Get ready for a lot of Shoujo Legs and Weird Character Choices. (All images will have their descriptions in the alt text.)

So first of all you have to understand that Vakama was my babygirl for many many years. This guy has the worst social anxiety you've ever seen. Not sure why I decided to take away his glasses when he transformed considering that's one of my least favourite things but whatever.

THIS MAN HAS NO ASS. I mean none of them do but Matau especially, goddamn. Anyway he wanted to dye his hair green so bad but his mom wouldn't let him. This guy is a huge flirt and we stan. Also I think the second image is flipped for some reason.

Okay yeah the second image is definitely flipped why did I do that. I was genuinely trying to make Nokama look cute and fashionable here but also I didn't know how to draw skirts very well so. Yeah. Vakama and Matau were both instantly smitten with her when she showed up and honestly the endgame ship there was Vakama/Nokama but for real it should've been the three of them. God she was so fucking patient

Now I gotta say I have absolutely no clue why the hell I gave Onewa a punk aesthetic (it's not even that punk, really, just what I would've considered punk as a very sheltered teen in 2011) but it kinda fucks actually. He was such a bitch but also he was so right about basically everything. King <3

WHENUA MY BELOVED. He was the oldest out of all of them and straight up had a university degree already but had for some reason decided to go to college after to get qualifications for a job that definitely would have paid less than the job he was originally going for with the university degree but I was dumb as hell and also he had to be at college that was the point of the fic. He and Vakama were roommates (oh my god they were roommates)

Okay so the hairstyle. Um. I was obsessed with Wizard AnimalParade at the time. Also when he lifted the eyepatch on his transformed self he could zoom his vision in and out like a telescope. Also also he was obsessed with astronomy and thought astrology was stupid which. Is very funny writing KNPS now because that version of Nuju has exactly the same opinion

Now, I know what you're thinking. "Hey Rags how come the characters with brown and black as their theme colours are the only brown and black skinned characters" because I was fucking stupid that's why. Moving on.

One of the running gags I had in the manga version of this fic (YES there was a manga version, it only got about halfway through the second chapter) was that Lhikan always had bishounen sparkles every time he appeared. I wanted him to be a pretty boy so bad. I stand by this choice honestly Lhikan should be the prettiest boy. He should be more pretty than he is. VAKAMA SHOULD'VE HAD A BI LITTLE CRUSH ON HIM.

Honestly the only reason his eyes are white here is I forgot to colour them lmao. Dume worked in the college's security office and he was such an uptight old bitch. Look at his stupid little tie clip. This was also before I learned how to, like, make people look older, and so he just looks like a young man with a moustache lol. What learning to draw from Chris Hart books does to a mf

And to round off this part, please have one of the first pieces of digital art I ever did: a cover for the series! Back in the day fanfiction.net let you set a specific cover for a series so I drew this for that. I'm honestly really glad I found this again, I thought that it was lost to time and the only version I had access to was the extremely crunched version still up on ff.net. I drew this all by hand and did all the colouring and shading and stuff using Paint.net, which was a free program. The textures for the dirt and earth were made using MS Paint still though lol.

OKAY there are still about one million billion left to go but I'm calling it here for now so it doesn't get too long. I'll make another post with villains or something later.

Except also here have this no-context picture of Matau that was my deviantart profile picture for a long time.

#bionicle #human bionicle #look. LOOK. #at least half of this story is what became the blueprints for knps okay. i have changed very little. #it was formative for me though. how many big weird au fics have i done since then. metru uni was the first. the progenitor. #without metru uni we don't get west city public library or kini nui public school. so there you are. #but like for real though NO ONE HAS AN ASS. WHERE IS THE BOOTY. 19 YEAR OLD ME WAS A COWARD.

[basedkikuenjoyer]

Dark out, I’m cloistered inside where it’s warm because I’m built for triple digit temps and we have snow. Perfect circumstances for a little Late-Night Togashiposting! How could I muse on Oda’s relation to such an influence starting from Okiku and not delve into Hunter x Hunter’s biggest sweetiebaby? Introduced here in one of my favorite panels in the entire series. All that buildup about this horrific, otherworldly monster...then boom. Cute little muffin and all her stuffies. Cracks me up everytime. 

Clever introduction too. Symbolically looking like one of the dolls as a reflection of how her family sees her. Excellent contrast with the cutie that perks up when she sees big brother Kil. The idea of “something from afar” as a motif for a trans character given all too often we see Japanese hatemongers writing off queer identities as unsavory Western influence. Not to mention laying seeds for the Dark Continent down the line. Good stuff.

It shouldn’t be hard to guess why I might want to look at Alluka Zoldyck and Okiku side-by-side. We dipped a toe, but they deserve more. They deserve everything. If nothing else we have two high-profile trans characters slipped into some of the biggest ongoing series in Weekly Shonen Jump. They were both very prevalent in their arcs and served as a pillar of the core themes. We have some easy shared territory like exploring them through a sibling bond and this core element of duality. That’s barely scratching the surface though.

First, what we won’t do here. I’m not even going to try and judge which of these two is most baby. They’re both sweetie muffins, they’re both perfect, neither has done a single wrong thing in their lives. I want both as a little sister. Existing in the same series would spark a religion that finally establishes world peace. Eat your heart out Prince Tyson.

The angle I want to approach this from...ever seen much of the correspondence between JRR Tolkien and CS Lewis? It’s honestly as interesting as Narnia or Lord of the Rings. A masterclass on the philosophy of fiction. That’s how I look at these two. Dead serious. And I have for a long time, even before Oda’s glowing statements for Togashi’s exhibition. Looking at the landscape now though, these two are contemporaries even if Togashi’s the senior on paper. Because of his frequent breaks, One Piece has published more chapters than the elder’s three main series combined.

Stands to reason if an author wanted to do a big trans character they’d look at others in the genre. If I was doing so in 2018, Alluka would be a first thought. Hell, Punk Hazard is getting started right as the 13th Chairman Election is concluding. Especially since there’s potentially a similar dynamic getting from Miyuki in Yu Yu Hakusho to Rurouni Kenshin’s Kamatari. The latter pair were part of a big trend of similar characters, WSJ’s answer to a largely shoujo phenomenon. Which tracks with Japanese politics at the time as well as hitting the point new authors who grew up at the height of Stop!! Hibari-Kun’s popularity were coming onto the scene. 

Let’s start somewhere easy for the compare/contrast. Both of these little angels have a core relationship with a big brother we already knew by the time we meet them. I’m not going to say one is better, but I like One Piece’s take more and it plays into a way One Piece distinguishes itself from Shonen contemporaries including HxH. Alluka is wonderful, a great story that makes excellent use of the trans aspect as a parallel to the events going on. Much like we’ve said a lot about Kiku. Still...at the end of the day she’s an accessory to the 2nd most important character in the series. It’s about Killua being a good brother first and foremost. Trying to teach the main audience how to respect someone different. Likewise with the trans aspect just being handed to you up front. For all the ways HxH subverts common tropes, even with Alluka, letting Kiku lead her own story is awesome. Doing in a way that couches her in themes most women could relate to even better. You almost never get that and definitely not in something so mainstream. 

Why? Because it frees her from having to do as many beats about figuring her out. Killua is a nice evolution, being the one who gets his little sister compared to the rest of the family, but Kiku gets to just be her. None of her story is about being alien to begin with. It isn’t really that hard of a concept, getting to One Piece in general. Hunter x Hunter is subversive in many ways, I’d call it the more mature of the two series in terms of content...but it’s still at heart a “coming of age” story. One Piece isn’t. It’s a young man’s odyssey. That’s why we meet Koby in Romance Dawn. Why we don’t spend East Blue bumbling along as an apprentice. To show Luffy is past that kind of motivation and already the type of figure who can inspire others like Shanks did for him.

That same ethos is all over, and for Kiku it ends up being this awesome manifestation. Seriously...how many trans stories have you seen that aren’t about “finding your true self” or something like that? I’d call hers a step that can only happen past that; someone who has done that grappling with the past catching up to you. An adult who has found her own strength tested with regression, the danger of “becoming the mask” again. It’s Yamato and even Sanji who have more common beats you’d see for a trans narrative. Not trying to twist the knife...but that’s why I knew the former wouldn’t be tagging along at the end. Fans ended up telling on him; so much of the appeal was in “seeing him grow.” Great for most Shonen, not so much for One Piece.

Hmm...this is getting pretty long already. Oh darn, guess that means we have more LNTPs to come. I’ll leave you with this fun thought for now. Just consider the timing. Maybe it’s all one big coincidence. But like I said, Punk Hazard starts as Alluka’s arc is wrapping up. We were laying seeds that would matter for Kiku right from meeting Kin’emon. That’s not all though. Just...find it interesting where Togashi’s huge hiatus lines up with One Piece. Last chapter before released concurrently with the beginning of Act 2, Hiatus ends concurrently with Blackbeard showing up again. From one actress with him (Catarina) to another (Pudding). Is it a bit crazy to speculate on two authors collaborating on something funky? Hell yes, massive reach. But if any two would...

#one piece #hunter x hunter #okiku #alluka zoldyck #eiichiro oda #yoshihiro togashi #late night togashiposting

[cubedmango]

so this spiraled out of control, and this is me warning that my messages ahead are gonna get pretty long, so my apologies for clogging up your inbox with my ramblings as i do my best to answer your questions and stuff 😅 so basically: most toku are elaborate children's toy commercials, superhero shows, and shounen manga/anime but live-action (complete with the homoeroticism) rolled into one, although a good portion of its protagonists (especially in kamen rider, the franchise i'm most familiar with atm) are actually adults this time, albeit usually 20-something prettyboys (as to why, look up the odagiri effect if you haven't heard of it yet). and officially, toku isn't really a genre (stuff like godzilla are also considered toku), but many people outside of the jpn fandom basically treat it as such in the way they treat shounen, shoujo, seinen, josei, etc. so i guess it doesn't really matter anymore atp? (1/?)

(rest of ur asks under the cut!)

some toku are more adult-oriented, though those tend to be relegated to webseries and movies that aren't aired on tv, but again i'm not as familiar with that stuff rn. and you're right about the number of episodes - among the toku big 3 (kr, super sentai - aka the basis for power rangers, ultraman), kr and sentai seasons tend to be ~50 episodes while ultraman seasons are often around 25 instead. also all 3 of these air shows annually, but each is generally stand-alone albeit taking place in the same wider universe (mcu vibes except i think it's somewhat less annoying and with a less strict sense of having to make everything 'canon') and which can be loosely connected enough for them to have crossover movies every so often (though yeah, those tend to be not officially canon) (2/?)

among those big 3 as well, kr is definitely the go-to if you're interested in m/m subtext, whereas it's apparently less frequent (but definitely still present occasionally) in sentai and ultraman, especially as sentai in particular seems to be more big on the power of platonic friendship and family (not so sure on ultraman as that's the most unfamiliar series to me for now, though fwiw i think the template of the steel samurai in aa is relatively closer to ultraman than to the other big 2 franchises) (3/?)

as for what i'd recommend - i've actually only gotten into toku recently, but i'd say kr build (the season where inukai and akaso play the leads) is a pretty good place to start tbh! i haven't actually finished it myself, but i'm really enjoying it so far, and while i've heard it kinda stumbles in the latter third, it's generally agreed upon to be a solid season with a fairly cohesive plot and compelling characters (and the ending is kinda insane from what i know, but like mostly in a good way), and i agree so far as well. it's also one of the seasons specifically conceived as a callback to the very first kr shows in the showa era, so this way, you can get a pretty good sense of the original themes of kr even without watching said showa-era shows right away. and each kr season has its own themes too, with build's being focused on science and scientific principles, hence the protagonist here being a physicist (4/?)

build is also known for having a suspenseful thriller-like plot with a lot of twists and turns, so it's best to go in as blind as possible aside from like a cursory glance at its synopsis - basically don't follow my example, as i got spoiled for all the major plot twists and while i'm still liking the show and now focusing more on seeing how well-foreshadowed and built-up (ha) said twists have been so far, i definitely sometimes catch myself wishing i'd been a more unaware viewer from the start lol. and it's 49 episodes long (with some spin-off movies and a stageplay that, while not strictly necessary to watch due to either being not officially canon or not really relevant to the main plot, apparently do enhance the viewing experience and still tie in nicely to aspects of the main series and its character development), but due to the nature of its thriller-like story meant to hook viewers in, it might not actually take too long for you to finish (though i personally am taking it more slow and steady) (5/?)

as for the gay stuff, build is definitely worth checking out as the very originator of the life-changing phrase 'heated drama between men' (from this official promotional article www . toei . co . jp/tv/build/story/1210272_2766.html) and is also generally agreed to be one of the top kr shows (and the most recent one in years) to lay on extreme gay subtext (and again, that's saying something considering kr homoeroticism as a whole, and it's so palpable they've gotten many straight people and dudebro fans on reddit and twitter to also agree they're gay; other seasons with very heavy subtext between its 2 male leads that i can think of off the top of my head rn are ooo, blade, and ofc kuuga, the grandpa of all heisei kr shows) (6/?)

sento (the protagonist, played by inukai) and banjou (the deuteragonist, played by akaso) are considered iconic nowadays in helping elevate the primary x secondary rider partnership (bc going by those other mentioned extremely gay-coded relationships from previous seasons, none of them count as primary x secondary), and banjou by himself is often seen as redefining the secondary rider role (and also sento/banjou, or ryusen, is like peak m/m nerd x jock romance to me in general, and a fun bonus for me is even if it's yaoi, they both dress a lot like butch lesbians so in my mind they're kinda lesbian-adjacent to me, an actual lesbian). they're also really popular that they've gotten official couple's rings merch (based on their animal motifs of rabbit for sento and dragon for banjou), in the vein of narumitsu (and klapollo too if i'm not misremembering?), kawoshin, those guys from promare and code geass, etc (7/?)

speaking of aa again, i do think edgeworth would generally enjoy kr, gay subtext and all (the steel samurai probably contains heated drama between men too), and even though idk yet if kr and/or build would be his favorite toku shows as a whole, i definitely think he'd find himself relating to sento in many ways (they're both gay-coded identity crisis-having autistic guys with red in their color schemes, among some other similarities you'll discover along the way), but i think sento's relationship with misora (the main female character and his younger sister-ish figure) is overall more akin to phoenix and maya's than to edgeworth and franziska's. i don't think banjou and phoenix are that similar though, aside from being bi-coded blue-themed men associated with dragons, but edgeworth might still find a way to draw some parallels between his relationship with phoenix to the ryusen dynamic (8/?)

and while i can't guarantee build will make you feel as crazy (positive) as it's making me rn, i think you'll still like sento/banjou and the show itself... also, sento and banjou are pretty much the opposites personality-wise of inukai and akaso's characters in odt and cm (i also watched and enjoyed both shows prior to watching build, and yeah it's definitely a bit of a whiplash to see how different their respective characters are, though it does tickle me to imagine the possibility that the drama got so heated in build it inspired them to act in full-blown bls a few years later). like sento is an 'egotistical genius superhero' with a heart of gold whose arrogance is partly a facade and coping mechanism for his identity issues, and banjou is basically an adhd icon and ex-pro boxer (although lbr akaso doesn't really have a convincing enough physique for it, but well i can forgive it in the end because he's a great actor otherwise) who's very much an 'act/punch first, think later' type of dumbass but who's also a kind person at heart, albeit starting out as a bit of a selfish jerk whose (kinda understandably, in hindsight) distrustful nature makes him look out only mainly for himself and his small circle of loved ones, so i think it's nice to see both men's acting range (9/?)

anyway i'd say the love story (platonic or romantic, but well. it's really hard to read it as purely the former) between sento and banjou is truly at the heart of the show (like it's literally a story about building relationships) - in short, build is that "stop war start gay" graffitti meme. but for a better summary of what i do like overall about build that's also not very spoilery: www . tumblr . com/timetoddddavis/711997352927510528?source=share also i'm obsessed with this fmv so i must inflict it (positively) on every person i can (it's a bit spoilery but it's all out of context so it's not that big of a deal): youtu . be/-Gjzr5HmmfY?si=HUr8oZezqV_lIusZ (10/?)

(also even if you end up concluding that toku really isn't your cup of tea, you can at least maybe think of your experiences as a way to improve future aa headcanons and fics wrt its depiction of the steel samurai and company i guess?) this has gotten long enough that i'll stop here, but i did have some additional thoughts on build's female characters (sadly there's only a few of them, but they're treated well enough considered how men-centric kr generally is), how kr has actually and refreshingly also been dipping its toes into yuri(bait) recently, and the kinda morbidly funny anecdote about akaso thinking he might have gotten a crush on inukai on their first day of filming but it was actually heat stress affecting him, but i'll save those for another time if you're curious enough or are okay with me continuing to ramble. i really appreciate your time and attention, and thank you so much for entertaining me and my toku fixation :-) (11/11)

also toku fans have all made our jokes about the energy emanated by that classic 'heated drama between men' photobook image of inukai and akaso as sento and banjou but i'm also not kidding when i unironically think their posing in that picture perfectly encapsulates the characters' relationship by the end of the show... their relationship development from reluctant and kinda antagonistic allies to friends to beloved (and kinda codependent ngl but that just gives it more flavor to me, and also understandable given the circumstances of everything) partners really is a sight to behold <3

oh my god anon . thank u so much for the detailed explanation but also how long did these take u to type theres So Much Info Here ??? respect to ur fixation tho i dont think i would ever be so clear and coherent talking abt my blorbos afjdskfjkd

ANYWAY !!! u have def caught my interest w build (esp w the aa parallels and the rings mention i had no idea other franchises do it too) (also in the post u linked this line "it stars a silly little rabbit, the silly little rabbit has a death wish" i Need to understand the context behind that) so i might actually watch the first few eps and see if i enjoy it?? the chara dynamics sound rlly interesting already from ur descriptions so im curious abt how theyre in the show 👀 if theres any specific place/site ud recommend i watch id appreciate that too bc i have no idea where to look kfjdks

#oh and feel free to tell me abt the other stuff if ud like! female chara discussion most important thing ever to me even if idk them #(and the akaso thing ??????? oh my god i have to hear more about that rkjgkfdjgkfg) #gonna save the fmv for later in case i do decide to watch the whole show but ty for that too!! #my answer